Focusrite Liquid Channel Pro Channel Strip
Precisely replicates 50 classic mic pres and 50 compressors at 192 kHz. 99 program memory for saving parameters. Expandable libraries via USB interface.
Product rated 10.0 out of 10 (2 ratings)
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ADDITIONAL VIEWS:
Main
Rear
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PRODUCT DESCRIPTION
The Liquid Channel is a revolutionary professional channel strip that can precisely replicate any classic mic-pre and compressor. Combining radical new analog pre-amp technology with Dynamic Convolution techniques, The Liquid Channel fuses cutting-edge analog design with lightning fast SHARC DSP. Augmented by fully digital controls and optional remote software, The Liquid Channel provides the ultimate fluid vintage collection.
Liquid technology
Rather than creating a similar sound to vintage units, as with modelling devices, The Liquid Channel precisely replicates their sonic behaviour. This is achieved through Dynamic Convolution; the application of a unique, level-dependant set of responses to an audio signal. These measured responses, sampled at numerous levels and with every possible setting combination, are applied to the input stream on a sample-by-sample basis for accurate replication.
Liquid pre-amplification
Mic-pre replication can't be achieved with software alone. Hardware is required in addition to account for the physical interaction with the microphone. As a result, Focusrite invested vast amounts of time and energy into designing and building the ultimate 'liquid' preamplifier, able to match the input impedance and signal path (transformer or electronic) of the device being replicated.
Not all vintage units are born equal
Second order harmonic distortion is a beneficial artefact of analog circuits (especially tube and transformer-coupled designs) providing the much-loved 'warmth'. However, often two units of the same type will vary in the amount of second order distortion produced, so an additional control for modifying this vintage property is provided. This allows for precise matching of the Liquid Channel to your own beloved mic-pre.
The best of both worlds - analog and digital
The Liquid Channel combines a highly complex, massively flexible analog front-end with Dynamic Convolution processing, which utilises lightning fast SHARC chips and runs at sample rates of up to 192kHz. The front panel controls are digital, with tactile rotary encoders; all parameters can be stored in one of 99 program memories. At the press of button, you can reload all mic-pre, compressor and EQ settings for an individual session. If using The Liquid Channel in conjunction with a recording platform (e.g. Pro Tools), both the session files and The Liquid Channel's program memory can be sent via standard data transfer methods, providing a completely mobile recording session. Perfectly replicated vintage classics with the power and ease of use of the digital domain.
Infinite expansion and remote control
The USB port on the rear panel allows remote control of The Liquid Channel, leaving the processor safely racked away. But that's not all. The software application also serves as an archiving system for additional replicas and program memories, and permits downloads of additional classic units from www.ffliquid.com. So, The Liquid Channel is infinitely expandable.
Features:
Loaded with 40 classic mic-pre and 40 classic compressor replicas
Endlessly expandable library of replicas via USB download
99 program memories allow you to save every parameter
File format provides easy transfer to other Liquid users
LiquidControl allows comprehensive control and archiving facility
192kHz internal processing and ADC/DAC as standard
New Focusrite Digital EQ
Adjustable 2nd order distortion accounts for variance in vintage originals
Cascade two units for stereo-linking of all parameters
Liquid technology
Rather than creating a similar sound to vintage units, as with modelling devices, The Liquid Channel precisely replicates their sonic behaviour. This is achieved through Dynamic Convolution; the application of a unique, level-dependant set of responses to an audio signal. These measured responses, sampled at numerous levels and with every possible setting combination, are applied to the input stream on a sample-by-sample basis for accurate replication.
Liquid pre-amplification
Mic-pre replication can't be achieved with software alone. Hardware is required in addition to account for the physical interaction with the microphone. As a result, Focusrite invested vast amounts of time and energy into designing and building the ultimate 'liquid' preamplifier, able to match the input impedance and signal path (transformer or electronic) of the device being replicated.
Not all vintage units are born equal
Second order harmonic distortion is a beneficial artefact of analog circuits (especially tube and transformer-coupled designs) providing the much-loved 'warmth'. However, often two units of the same type will vary in the amount of second order distortion produced, so an additional control for modifying this vintage property is provided. This allows for precise matching of the Liquid Channel to your own beloved mic-pre.
The best of both worlds - analog and digital
The Liquid Channel combines a highly complex, massively flexible analog front-end with Dynamic Convolution processing, which utilises lightning fast SHARC chips and runs at sample rates of up to 192kHz. The front panel controls are digital, with tactile rotary encoders; all parameters can be stored in one of 99 program memories. At the press of button, you can reload all mic-pre, compressor and EQ settings for an individual session. If using The Liquid Channel in conjunction with a recording platform (e.g. Pro Tools), both the session files and The Liquid Channel's program memory can be sent via standard data transfer methods, providing a completely mobile recording session. Perfectly replicated vintage classics with the power and ease of use of the digital domain.
Infinite expansion and remote control
The USB port on the rear panel allows remote control of The Liquid Channel, leaving the processor safely racked away. But that's not all. The software application also serves as an archiving system for additional replicas and program memories, and permits downloads of additional classic units from www.ffliquid.com. So, The Liquid Channel is infinitely expandable.
Features:
Loaded with 40 classic mic-pre and 40 classic compressor replicas
Endlessly expandable library of replicas via USB download
99 program memories allow you to save every parameter
File format provides easy transfer to other Liquid users
LiquidControl allows comprehensive control and archiving facility
192kHz internal processing and ADC/DAC as standard
New Focusrite Digital EQ
Adjustable 2nd order distortion accounts for variance in vintage originals
Cascade two units for stereo-linking of all parameters
TECHNICAL DESCRIPTION
Rear Panel Connections
Mic input: XLR female
Line input: XLR female
analog output: XLR male
AES digital input: XLR female
AES digital output: XLR male
Wordclock in: BNC, 75Ohm input impedance
Wordclock out: BNC, outputs regenerated buffered wordclock at selected sample frequency
Digital Link Bus in: RCA connector
Digital Link Bus out: RCA connector
Converter performance
Sample rate: 44.1, 48, 88.2, 96, 176.4 and 192 kHz
Bit depth: 24-bit
ADC
SNR: 120 dB measured with 20 Hz/22 kHz bandpass A-weighted filter
Frequency response: +/- 0.05 dB between 20 Hz - 20 kHz
Maximum input level: +22 dBu
THD+N: 0.00035% (-109 dB)
DAC
Dynamic range: 116 dB measured with 20 Hz/22 kHz bandpass A-weighted filter
Frequency response: +/- 0.05 dB between 20 Hz - 20 kHz
Maximum output level: +22 dBu
THD+N: 0.0007% (-103 dB)
Jitter
Internal clock: < 20 pico-seconds
AES digital output: < 200 pico-seconds
External clock: < 1 nano-second
Mic pre
Gain range: +6 dB to +80 dB, switched in 1 dB steps
Frequency response: variable, set by pre-amp chosen
THD+N at analog out: 0.001% measured with a +4 dBu 1 kHz input signal with 20 Hz/22 kHz bandpass filter
THD+N at AES digital out: 0.0005% measured with a +4 dBu 1 kHz input signal with 20 Hz/22 kHz bandpass filter
Mic noise: EIN = -126 dB measured at 80 dB of gain with 150 Ohm source impedance and 20 Hz/22 kHz bandpass filter
Noise at analog out: -92 dBu measured at +6 dB gain with 20 Hz/22 kHz bandpass A-weighted filter
Noise at AES digital out: -119 dBfs measured at + 6dB gain with 20 Hz/22 kHz bandpass A-weighted filter
Maximum input level: +16 dBu
Input impedance: variable, set by pre-amp chosen
CMRR: Transformer: 123 dB @ 60 dB of gain, Electronic: 102 dB @ 60 dB of gain
Line input
Gain range: -10 dB to +10 dB, switched in 1 dB steps
0 dB +/- 0.1 dB between 20 Hz and 20 kHz
THD+N at analog out: 0.001% measured with a +18 dBu 1 kHz input signal with 20 Hz/22 kHz bandpass filter
THD+N at AES digital out: 0.0004% measured with a +18 dBu 1 kHz input signal with 20 Hz/22 kHz bandpass filter
Noise at analog out: -92 dBu measured at 0 dB gain with 20 Hz/22 kHz bandpass A-weighted filter
Noise at AES digital out: -120 dBfs measured at 0 dB gain with 20 Hz/22 kHz bandpass A-weighted filter
Maximum input level: +22 dBu
High pass filter
Roll off frequency: switchable between 75 Hz and 120 Hz, frequency measured at 6 dB down point, 12 dB per octave roll-off
Harmonics
Distortion range: 0 to 15 where 15 (maximum) = 10% of 2nd-, 20% of 3rd- and 10% of 5th-order at 0dBfs (level-dependent distortion)
Compressor
In As Original - mode the parameter ranges will be the same as on the original unit being emulated. In 'Free' mode the parameter ranges are as follows:
Threshold range: -40 db to 20 dB switched in 1 dB steps.
Ratio range: 1:1 to limit
Attack range: 0.1 mS to 2.5 S
Release range: 0.1 mS to 2.5 S
Make-up gain: -20 dB to +20 dB switched in 0.5dB steps
EQ
High Shelf
Frequency range: 200 Hz to 20 kHz
Gain: +/-18 dB
Mid Band
Frequency range: 100 Hz to 10 kHz
Gain: +/-18 dB
Q: variable between 0.8 and 2.5
Low Shelf
Frequency range: 10 Hz to 1 kHz
Gain: +/-18 dB
Weight
8.6 kg
Dimensions
19 in. (W) x 3.4 in. (H) x 10.63 in. (D) ; 484 mm (W) x 85 mm (H) x 270 mm (D)
2U rackmount
Mic input: XLR female
Line input: XLR female
analog output: XLR male
AES digital input: XLR female
AES digital output: XLR male
Wordclock in: BNC, 75Ohm input impedance
Wordclock out: BNC, outputs regenerated buffered wordclock at selected sample frequency
Digital Link Bus in: RCA connector
Digital Link Bus out: RCA connector
Converter performance
Sample rate: 44.1, 48, 88.2, 96, 176.4 and 192 kHz
Bit depth: 24-bit
ADC
SNR: 120 dB measured with 20 Hz/22 kHz bandpass A-weighted filter
Frequency response: +/- 0.05 dB between 20 Hz - 20 kHz
Maximum input level: +22 dBu
THD+N: 0.00035% (-109 dB)
DAC
Dynamic range: 116 dB measured with 20 Hz/22 kHz bandpass A-weighted filter
Frequency response: +/- 0.05 dB between 20 Hz - 20 kHz
Maximum output level: +22 dBu
THD+N: 0.0007% (-103 dB)
Jitter
Internal clock: < 20 pico-seconds
AES digital output: < 200 pico-seconds
External clock: < 1 nano-second
Mic pre
Gain range: +6 dB to +80 dB, switched in 1 dB steps
Frequency response: variable, set by pre-amp chosen
THD+N at analog out: 0.001% measured with a +4 dBu 1 kHz input signal with 20 Hz/22 kHz bandpass filter
THD+N at AES digital out: 0.0005% measured with a +4 dBu 1 kHz input signal with 20 Hz/22 kHz bandpass filter
Mic noise: EIN = -126 dB measured at 80 dB of gain with 150 Ohm source impedance and 20 Hz/22 kHz bandpass filter
Noise at analog out: -92 dBu measured at +6 dB gain with 20 Hz/22 kHz bandpass A-weighted filter
Noise at AES digital out: -119 dBfs measured at + 6dB gain with 20 Hz/22 kHz bandpass A-weighted filter
Maximum input level: +16 dBu
Input impedance: variable, set by pre-amp chosen
CMRR: Transformer: 123 dB @ 60 dB of gain, Electronic: 102 dB @ 60 dB of gain
Line input
Gain range: -10 dB to +10 dB, switched in 1 dB steps
0 dB +/- 0.1 dB between 20 Hz and 20 kHz
THD+N at analog out: 0.001% measured with a +18 dBu 1 kHz input signal with 20 Hz/22 kHz bandpass filter
THD+N at AES digital out: 0.0004% measured with a +18 dBu 1 kHz input signal with 20 Hz/22 kHz bandpass filter
Noise at analog out: -92 dBu measured at 0 dB gain with 20 Hz/22 kHz bandpass A-weighted filter
Noise at AES digital out: -120 dBfs measured at 0 dB gain with 20 Hz/22 kHz bandpass A-weighted filter
Maximum input level: +22 dBu
High pass filter
Roll off frequency: switchable between 75 Hz and 120 Hz, frequency measured at 6 dB down point, 12 dB per octave roll-off
Harmonics
Distortion range: 0 to 15 where 15 (maximum) = 10% of 2nd-, 20% of 3rd- and 10% of 5th-order at 0dBfs (level-dependent distortion)
Compressor
In As Original - mode the parameter ranges will be the same as on the original unit being emulated. In 'Free' mode the parameter ranges are as follows:
Threshold range: -40 db to 20 dB switched in 1 dB steps.
Ratio range: 1:1 to limit
Attack range: 0.1 mS to 2.5 S
Release range: 0.1 mS to 2.5 S
Make-up gain: -20 dB to +20 dB switched in 0.5dB steps
EQ
High Shelf
Frequency range: 200 Hz to 20 kHz
Gain: +/-18 dB
Mid Band
Frequency range: 100 Hz to 10 kHz
Gain: +/-18 dB
Q: variable between 0.8 and 2.5
Low Shelf
Frequency range: 10 Hz to 1 kHz
Gain: +/-18 dB
Weight
8.6 kg
Dimensions
19 in. (W) x 3.4 in. (H) x 10.63 in. (D) ; 484 mm (W) x 85 mm (H) x 270 mm (D)
2U rackmount
REVIEWS
Product rated 10.0 out of 10 (2 ratings)
